Black Angel

love

1:14:00

40

jadul lagii🙂‍↕️

I found the beautiful Gabriel Garko in Nazi uniform, the story is nice and original, but it doesn't worth the 2 hours of attention unless you are interested in soft *. I also disliked Gabriel Garko's bleach blonde hair, he should have gone to a hair salon.

far to be original, adaptation of a classic Italian novel, Senso "45 is special. not surprising, not good, not touching. only strange. first, for the slices of memories about the universe of Luchino Visconti.or Pasolini. the second - for the great chemistry between the two lead characters. and, not the least, for the music of Ennio Moriccone. the darkness, the high sensuality, the decadence , the meets between the powerful woman and her vulnerable, vulgar lover are motifs for see a film who could be useful trip in the heart of different zones of cinema. the magnetism of irresistible Gabriel Garko, the science of Anna Galiena to do a complex work for explore each nuance of her role. one of films who reflects a state. in smart manner. and, in many scenes, courageous.

That Fallo ( private 2003) is really good tinto movie, but most movies of him in 90s are better. those are more focused on sex, nudity and then story .. But here in this movie , its almost focused on Story, very less on sex n nudity. And also i was expecting some better ending, but it kinda suks.

This man with lascivious ,nasty traits and libidinous habits (on screen, at least) is a cult—actor—and one of the luckiest, either—he was the man designated by Brass to hug, fondle, embrace, touch those marvelous Brass femmes fatals—in LA CHIAVE, MIRANDA, Senso '45—some of these are mythical movies ;he made a considerable gallery of men who are never no. 1, nor Des premiers, but who nonetheless manage to have a lot—by cunning, chance or by simply being there. His role in LA CHIAVE is perhaps the most sophisticated; in SENSO '45 he is a libidinous, sleazy oldster, in MIRANDA an avid redneck …. MIRANDA is a Goldonian spoof, a fabulous Goldonian parody, and Brass' intentions are obvious beginning with the place that Branciarolli's character gets in the script. Brass never pretended that his * hardcore (to a certain degree) actor is a handsome man, or the first choice of a woman—in LA CHIAVE, he is the much younger son—in-law and he becomes a caprice and sexual toy of his bored ,boiled by desires sexually authoritarian and emancipated mother—in—law; in SENSO '45 he is an oldie confident that craves for some sexual attentions …;in MIRANDA he is hillbilly that is accepted in Mme. Grandi's bed only after all the more interesting sexual adventures have been consummated almost under his envious ,jealous eyes. Branciarolii is,in Brass' movies, never the one who conquers or wins, but the one who is conquered or let, permitted to win …. SENSO … is THE KEY turned upside down; the mature woman, humiliated, used for else than her body, despised. The pagan celebration of earthly love turned into a farce. It's very sentimental, because Brass intended to underline his compassion for Livia Mazzoni. Brass is a feminist director; his movies celebrate the women, usually the men are the women's victims and Brass takes delight in that. Brass ' movies are a celebration of the earthly, vigorous, egoist women. There might be about love in THE VOYEUR—only perhaps—and in SENSO …; I do not know if the notion of love ,of sentimental love is ever targeted by Brass. And yes,it is a fairly fancy game imagining various women as actresses in Brass' movies.

Tinto Brass' return to "serious" filmmaking (after a string of sex comedies) is partly shot in black & white and is also partly successful. Brass' gamble to cast a 48-year-old actress in the main female role certainly paid off: Anna Galiena is very erotic, her body is astonishing, her performance uninhibited, she is the ultimate MILF. But the film is neither here nor there: the viewers interested in the WWII aspects probably won't care for the more explicit parts (the "orgy" sequence runs too long), while those watching this for the erotic parts will probably find the random WWII killings a bit of a mood-killer. I'm no expert on Tinto's filmography, but "Senso '45" is a lot tamer than "Caligula" in any case. Worth seeing for Galiena. **1/2 out of 4.

Important for definition of this movie is its special flavor. Memories of another films and the taste of a lost age. Symbols of a nostalgic ambiguity and the forms of chimeric images. It is not a good film. It is not a bad or boring movie. Anatomy of a relation between a Bovaric lady and a gorgeous young officer, story of love and revenge, escape and cruel punishment, "Senso '45" is a delicate cinematographic puzzle . At first view is a film of "70. Same atmosphere, same acting and gestures. The androgynous Gabriel Garko is new Helmuth Berger and the drops of Visconti's art are omnipresent. A game, without any mystery but nice for the images of a splendid youth- that is the recipe of this film. Old ingredients and same cook. But the charm is not result of convention or reaction of politeness. To see this film is contemplation of frozen time. A not original film, monument of clichés, scene for all important influences of century, beautiful lie and shadow of a evening. A common sign of a lost hour.